The title of this album firstly refers to a principle that constitutes its primary inspiration: the exploration of various forms of musical "cyclicity" during composition, performance and improvisation. In musical architecture the sense of cyclicity can be expressed through various expedients. Rhythmic, melodic or harmonic cycles can derive from the musical tradition or even be completely invented playing following the concept of repetition. They are elements of grammar and musical syntax that allow musicians to play with the short-term memory of the listener in an attempt to involve him, making explicit and involving even the most complex geometries underlying our music.

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I try to put in the foreground the pulsation and the rhythmic counterpoint because I am convinced that even the most abstract musical expression can be communicative and engaging if the listener has the chance to perceive the rhythmic nature of a musical gesture or the cyclical return of a thematic element already heard just before, or perhaps to indulge in the trance induced by the reiteration of a sound element.

In this cycle of compositions, subdivided into eight movements, the writing process plays a complementary and equal role compared to improvisation. The presence of a rhythmic jazz section that“pulsates” in an almost constant way is functional to the desire to communicate with the listeners.The musicians involved are called to internalize and perform the written parts but also to revisit it by improvising freely, in search of a certain balance between concreteness and abstraction, between the Apollineous and Dionysian elements.

This is Jazz because the syntax of that music can be enriched by elements foreign to it with writing characteristics sometimes influenced by other progressive music of the twentieth century and a practice that allows the performer/improviser all the freedom to manipulate the sound extemporaneously, marking its shape differently at each concert.

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My intent is to provide the listener with an easy access key to my music, without excessive intellectual tension, despite the complexity of the proposed geometric-musical inventions.

In a more poetic sense, in my music the stratification and the interference of different elements are expressions of an idea of peaceful coexistence of opposites, tolerance and appreciation of differences.

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Paolo Sorge

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